Music journalist Stuart Bailie’s new book Trouble Songs will be officially published in May, but it’s already starting to stir conversations and commentary. He takes on difficult stories from our history since the mid-1960s at the place where music meets social and political change and through interviews and analysis tries to understand and explain what happened.
It will be in the shops around now, but you can also order it on the web at TroubleSongs.com
Innovations and new ventures in this episode of the podcast (with the really clever name). From TV to YouTube and celebrating collaboration with Digital DNA Belfast. Maxine Mawhinney’s The Moment and Digital DNA in Belfast
The convenience: at one time I owned more than 5,000 of those vinyl albums. At one time or another the total, 10,000 would be a close approximation. I own none now. Precisely zero. Gave them all away. They took up so much room. But I have begun to buy books again. Paper books.
Its website says “FutureLearn aims to pioneer the best social learning experiences for everyone, anywhere.” With leading educational partners from around the world, it offers hundreds of courses. “Podcasting” isn’t one of them, but there are a few relevant courses that might interest a podcaster.
Not everyone uses music in their podcasts and not all of this taster course will be relevant to podcasters, but I thought someone might find Music Copyright and Me useful.
Like the Guardian Newspaper – which is owned by the Scott Trust – the Irish Times Trust gives the publisher greater scope than those with more commercial obligations. In the digital age, it was one of the first 30 newspapers in the world to go online when it had the domain Ireland.com – now owned by the Irish Tourism – and now, it is becoming a digital first publication.
Declan Conlon is The Irish Times’s podcast producer. We met in their radio studio in a converted office just off the main newsroom.
A podcast will have a running order which communicates to everyone involved what is planned and what is happening. The running order starts out the prospects owned by the producer which also keeps everyone informed about the progress of the show’s production.
Recording away from the studio. There are all sorts of reasons why you would record outside. A podcast episode can benefit from changes in tone and atmosphere. Reporting from a place rather than just about a place can give context to the story. It can add new textures and make the episode more interesting.
“Having an intention is really important. The intention [of The Radio Stuff Podcast] was and is to connect radio lovers around the world and share great ideas and be as positive about the radio industry as we can. It’s really about following our curiosities and talking to interesting people.” This section asks you to identify the purpose of your podcast. If you like, leave it for now and come back once you have read the rest of the book. The purpose will always be central to whatever you do.
This is an introduction to radio and podcast production. Radio and audio podcasts are not exactly the same thing, each have unique factors, but there is a shared core to their production.
As we reach episode 21 … this is the story so far. Now the podcast is part of a project with two books Podcasting for Communities and Podcasting for Student Journalists.
Along with this blog they are a guide for anyone who wants learn to produce podcasts or community radio. I’ve looked at production strategies such as structure, technical challenges, organising a production team, podcast platforms, community management and purpose
I have been listening to a lot of good stuff recently and I should share more often.
For now I’m going to mention two, one a BBC Radio Drama the other a long standing US podcast.
A report by the Knight Foundation about podcasting and on-demand radio “From Airwaves to Earbuds”. With Knight Foundation partners, both public broadcasters, supported by grants, and for-profit companies, which received investments from the Knight Enterprise Fund who provide insight into the fast growing area of podcasting.
With some 40 year’s experience in journalism, Barbara McCann has worked in radio, TV and print. She talks about interviewing and her approach to getting answers.
As an anchor on the BBC News channel, Maxine Mawhinney probably spends more time interviewing than anything else. The interviewees will be in the studio or remote – somewhere else in the country or really, anywhere in the world. Maxine shares tips on interviewing and presenting.
A friend – a journalist with decades of experience – asked me about starting a podcast – but nothing too complicated. She needed a simple podcasting tool that didn’t require a lot of setting up, carrying equipment, or lots of faffing around.
Last week I gave a lecture at the university of Ljubljana about post-fact, post-truth, hyperpartisan Facebook pages and the resurrection of fact-checking. It was timely. The obsession of the media – well, the part of the US media that gets fed into my Twitter and Facebook feeds – all through last week has been with fact-checking. Here are some excerpts from the lecture
We can all be podcasters now because the production tools have never been so cheap (and free!). You can experiment with podcasting without having to spend any money.
Two boos to accompany the Podcasting For series.
Driven away from morning radio current affairs in this run up to the referendum by lies, exaggerations, appalling condescension and guesses presented as fact, I am re-discovering podcasts. Here are some favourites that have brightened my mornings and evenings now that Today and PM are abandoned.
Good advice for journalists of any age.
TNW’s top tips for becoming a better writer – link
It is not so much that streaming video is the future. It’s easy navigation to find it that is the future.
I spend a lot of the week looking for stories about journalism, technology that supports it and how it’s all changing
A pick of the stories I have read this week about stories, news, journalism and social media